涼州蓮花山：趙惟熙重修蓮花山新百子觀音閣碑記，此碑記為中華民國（1917年）所立，系涼州蓮花山新百子觀音閣重修碑記，較為詳盡。

《中華民國重修蓮花山新百子觀音閣碑記》

中文繁體：

癸未年甘肅都督趙惟熙是役籌集工料等共計折合大洋六萬整餘圓，不敷募化。

甘肅省臨時參議會參議員、修志委員會分任祖籍至正使吳理德撰文。

甘肅省公立法政專門學(xué)校法律科講習(xí)班權(quán)愛堂書丹。

紅緞八三幅，網(wǎng)紗四幅，盤周全。

邑西有蓮花山，西鄉(xiāng)名勝區(qū)也。山多古廟，名剎而尤，古像乃西北最；有鎮(zhèn)殿古佛神像八幅，黑虎靈官神二幅，舊百子觀音閣為最勝。

按觀音為菩薩名，《法華經(jīng)》云：
佛告無盡意菩薩：「善男子！若有無量百千萬億眾生，受諸苦惱，聞是觀世音菩薩，一心稱名，觀世音菩薩，即時觀其音聲，皆得解脫！」

唐人讀世字，但稱觀音世音菩薩用之，然以百子為名，則無考。

或謂詩文有云：「大江獄中，百聽男意」，大似多附會之說，爾未可知。

又生民為云：古佛祀，以佛入嗣門第初生，即以萎原出，祀郊祺而得世嗣男；祀百子觀音，其殆祀郊祺之意歟。

蓮花山新舊百子觀音閣，建於狹山蹊谷，峋嶇攀登。維茲有楊玄師宗山為善信，便於祀。爰集善信，募集工員，捐資進一間於前山，計大殿三楹，旁復(fù)建精舍六間，殿北齋房一院，是役也。

經(jīng)始於癸未年，成於丁巳，共付工料、大洋六萬餘圓，實賴檀那之力不沒。屬記諸貞珉，以垂不朽云。

嚴攸、丁旭載文；段永新、劉茂齡校。

玄門楊宗山從施誠相繫劉信德、張信明。

郝在中、伊宗尹、張宗和等捐三副盤；大洋三千；木料三百根；一口鐘；一口爐；一座幡竿；一根旗。

中文簡體：

癸未年甘肅都督趙惟熙是役籌集工料等共計折合大洋六萬整余圓，不敷募化。

甘肅省臨時參議會參議員、修志委員會分任祖籍至正使吳理德撰文。

甘肅省公立法政專門學(xué)校法律科講習(xí)班權(quán)愛堂（進士權(quán)尚忠之子）書丹。

紅緞八三幅，網(wǎng)紗四幅，盤周全。

邑西有蓮花山，西鄉(xiāng)名勝區(qū)也。山多古廟，名剎而尤，古像乃西北最；鎮(zhèn)殿古佛神像八幅，黑虎靈官神二幅，舊百子觀音閣為最勝。

按觀音為菩薩名，《法華經(jīng)》云：
佛告無盡意菩薩：“善男子！若有無量百千萬億眾生，受諸苦惱，聞是觀世音菩薩，一心稱名，觀世音菩薩，即時觀其音聲，皆得解脫！”

唐人讀“世”字，但稱觀音世音菩薩用之，然以百子為名，則無考。

或謂詩文有云：“大江獄中，百聽男意”，大似多附會之說，爾未可知。

又生民為云：古佛祀，以佛入嗣門第初生，即以萎原出，祀郊祺而得世嗣男；祀百子觀音，其殆祀郊祺之意歟。

涼州蓮花山新舊百子觀音閣，建于狹山蹊谷，峋嶇攀登。維茲有楊玄師宗山為善信，便于祀。爰集善信，募集工員，捐資進一間于前山，計大殿三楹，旁復(fù)建精舍六間，殿北齋房一院，是役也。

經(jīng)始于癸未年，成于丁巳，共付工料、大洋六萬余圓，實賴檀那之力不沒。屬記諸貞珉，以垂不朽云。

嚴攸、丁旭載文；段永新、劉茂齡校。

玄門楊宗山從施誠相系劉信德、張信明。

郝在中、伊宗尹、張宗和等捐三副盤；大洋三千；木料三百根；一口鐘；一口爐；一座幡竿；一根旗。

中文白話：

中華民國（1913年）癸未年，此次工程由中華民國甘肅都督趙惟熙（江西人，光緒巳丑科進士）所籌集的工料費用，合計折合大洋六萬余元，仍有不足，只能繼續(xù)募化補充。

本文由甘肅省臨時參議會參議員、修志委員會分任祖籍至正使吳理德撰寫。
書丹者為甘肅省公立法政專門學(xué)校法律科講習(xí)班權(quán)愛堂先生（進士權(quán)尚忠之子）。

所用紅緞八十三幅、網(wǎng)紗四幅，陳設(shè)鋪陳，皆已齊備。

涼州城西有蓮花山，為西鄉(xiāng)一帶著名勝地。山中古廟眾多，名剎尤盛，古代佛像之精美，在西北一帶堪稱第一。
其中鎮(zhèn)殿古佛神像八幅，黑虎靈官神像兩幅，而舊有百子觀音閣，尤為勝境。

按理而言，“觀音”為菩薩之名?！斗ㄈA經(jīng)》中記載：
佛告無盡意菩薩說：“善男子！若有無量百千萬億眾生，遭受諸多苦惱，只要聽聞觀世音菩薩之名，一心稱念，觀世音菩薩便會即刻觀其音聲，使其皆得解脫。”

唐人誦讀“世”字，稱作“觀音世音菩薩”，此名用之已久；但若稱為“百子觀音”，則在經(jīng)典中并無確切出處。
或有人援引詩文中所謂“大江獄中，百聽男意”之語，似乎多屬牽強附會之說，實在難以確證。

又有民間傳說稱：古時祭祀佛像，凡有子嗣初生，便以牲禮祭祀郊祺，以求家族延續(xù)、得生男嗣；而祭祀百子觀音，大概也蘊含此類祈求子嗣之意吧。

涼州蓮花山新、舊兩處百子觀音閣，原本建在山谷狹隘、道路崎嶇之處，攀登艱難。因為趙惟熙領(lǐng)銜募集官方資金六萬大洋，重修舊百子閣，而道士楊宗山認為應(yīng)當另擇地便于香火祭祀，遂聯(lián)合趙惟熙官方和眾善信，募集工匠，捐資在前山另建了一處。

新建工程包括：大殿三間，旁建精舍六間；殿北另設(shè)齋房一院，工程規(guī)模由此而成。

本次工程始于中華民國二年（1913年）癸未年，完成于中華民國六年（1917年）丁巳年，歷時4年，前后所耗工料費用共計大洋六萬余元，就這還不夠，后續(xù)由其他信眾募捐，剩余全賴諸位檀那信眾鼎力相助，方得圓滿不廢。
特將都督大人趙惟熙等重修此事記刻于堅貞石碑之上，以垂久遠，不使湮沒。

文稿由嚴攸、丁旭撰寫整理；段永新、劉茂齡校訂。
玄門楊宗山率先施誠，劉信德（復(fù)興農(nóng)劉氏）、張信明等相繼捐助。

郝在中、伊宗尹、張宗和等人捐獻三副供盤、大洋三千元、木料三百根，并奉獻一口鐘、一口香爐、一座幡竿、一面旗幟。

英國英文：

Inscription on the Republican-Era Restoration of the Baizi Guanyin Pavilion at Lianhua Mountain

In this undertaking, the total funds raised for labor and materials amounted to the equivalent ofsixty thousand silver dollars and some remainder; the sum was still insufficient, and further public solicitation was therefore undertaken.

Wu Lide,
Member of the Provisional Gansu Provincial Assembly,Member of the Gazetteer Compilation Committee,Acting Commissioner for Ancestral Registration and Rectification,
composed the text.

Quan Aitang,
Instructor of the Law Training Class,Gansu Provincial Public College of Law and Politics,inscribed the calligraphy.

Eight lengths of red satin, three additional pieces, four lengths of gauze, and ritual trays were all duly provided.

To the west of the county liesLianhua Mountain, a renowned scenic area of Xixiang. The mountain abounds in ancient temples, among which the eminent monasteries are especially notable. Within the main hall standeight images of ancient Buddhas, andtwo images of the Black Tiger Spiritual Officer. Of all the structures, theformer Baizi Guanyin Pavilionwas the most distinguished.

Guanyin is the name of a Bodhisattva. The Lotus Sutra states:

The Buddha said to Bodhisattva Endless Intent: “Good man! If there are immeasurable hundreds of thousands of millions of living beings who suffer all manner of afflictions, and upon hearing of Bodhisattva Avalokite?vara, single-mindedly invoke his name, then Bodhisattva Avalokite?vara will immediately perceive their voices, and all will be liberated.”

In the Tang dynasty, the character shi (“world”) was read differently, and the Bodhisattva was commonly referred to asGuanyin Shiyin. However, the designation “Baizi” (Hundred Sons) lacks classical textual verification.

Some have cited poetic sayings such as: “Within the great river prison, a hundred listen for male offspring,” which appears largely to be a forced and speculative association, and cannot be firmly substantiated.

Among the common people it is also said that in ancient Buddhist rites, when a firstborn child entered a lineage, offerings were first made in the open fields, followed by sacrifices at suburban altars to obtain male heirs. Worship of the Baizi Guanyin may therefore be akin to the ancient rites of praying for lineage blessings.

The old and new Baizi Guanyin Pavilions at Lianhua Mountain were built deep within narrow mountain paths and valleys, requiring arduous climbing. At this time,Daoist Master Yang Zongshan, a devout believer, found the location inconvenient for worship. He therefore gathered fellow devotees, recruited laborers, and contributed funds to construct a new pavilion at the front of the mountain. The project comprised a main hall of three bays, six additional meditation chambers, and a courtyard of fasting rooms to the north of the hall—this was the undertaking.

Construction began in theGuiwei yearand was completed in theDingsi year. Total expenditures for labor and materials exceededsixty thousand silver dollars, made possible entirely through the unceasing generosity of donors.

This record is engraved upon enduring stone, so that it may be transmitted forever.

Yan YouandDing Xurecorded the text;Duan Yongxin andLiu Maolingproofread it.

DaoistYangZongshan, together with donorsLiu XindeandZhang Xinming, are hereby recorded.

Hao Zaizhong,Yi Zongyin,Zhang Zonghe, and others donated three ritual trays, three thousand silver dollars, three hundred logs of timber, one bell, one incense burner, one banner pole, and one ceremonial flag.

《中華民國重修蓮花山新百子觀音閣碑記》，此碑記為中華民國時期（1917年）所立，“丁巳”即1917年，系涼州蓮花山新百子觀音閣重修之紀念碑。此次甘肅都督趙惟熙巨資重修以甘肅都督趙惟熙發(fā)起，甘肅議會議員吳理德撰文，權(quán)愛堂書丹。嚴攸、丁旭載文；段永新、劉茂齡校。還涉及復(fù)興農(nóng)劉氏中的劉信德。趙惟熙是光緒十六年（1890年）庚寅恩科殿試金榜二甲第六十五名進士，1912年03月，署甘肅省都督兼民政長，主持甘肅軍政。復(fù)興農(nóng)劉氏中的劉茂林、劉吉林，在文廟的士紳民碑文中也有記載，此碑文中的劉信德，或許是此其中一人的父親。

權(quán)尚忠，光緒二十四年（1898年）戊戌科殿試三甲一百零八名進士；權(quán)愛堂（棠）是權(quán)尚忠之子，權(quán)愛堂（棠）后來行醫(yī)，其家族后和武威教育學(xué)院還有關(guān)系；只不過這復(fù)興農(nóng)劉鎧后裔劉大兔子（疑似劉吉林），外號大兔子，為民國時期1929年，武威縣西區(qū)區(qū)長兼任區(qū)保衛(wèi)團團長，走了另外的路線步入軍政領(lǐng)域。其碑文中的人物，在涼州文廟的碑林碑文中均有出現(xiàn)，收錄于《武威金石志》中，這也體現(xiàn)出，他們的確為涼州文化做出的巨大貢獻。涼州蓮花山目前看，其中進士群體很青睞這個地方，也許與其上的紫山書院有莫大關(guān)系。

百子觀音主司祈子送福，碑文中引《法華經(jīng)》以及《詩經(jīng)·大雅·思齊》《生民》中郊祺祈子的典故，闡發(fā)求嗣延祚之意，文辭典雅，義理分明，具有鮮明的民國時期地方重修廟閣碑記風(fēng)格。碑文所反映的，是西北第一名剎在清末民初社會轉(zhuǎn)型背景下，對大清帝國以來香火傳統(tǒng)的延續(xù)。其中談到十幅古畫，乃名士所作，價值連城。涼州蓮花山百子觀音閣所承載的祈福多子之民俗信仰，歷經(jīng)朝代更替而未絕，至今仍為涼州地方社會所沿襲，堪稱一處保存完好的區(qū)域宗教與民俗文化遺存。馮煒（字洞唐，筆名慕容洞唐，英文名 Fengus Ferguson ）的姥爺?shù)淖嫔蠗钫！钫?、楊宗山家族，是蒙古族楊氏，落籍涼州后，認同涼州文化，成為了涼州人。楊宗山喜歡道教，為涼州玄門道士。

“Stele Inscription for the Republican-Era Reconstruction of the New Baizi Guanyin Pavilion at Lianhua Mountain”

This stele was erected during the period of the Republic of China, in the year 1917. The cyclical designation Dingsi corresponds to 1917, and the inscription commemorates the reconstruction of the New Baizi Guanyin Pavilion on Lianhua Mountain in Liangzhou.

The reconstruction project was initiated and funded on a grand scale byZhao Weixi, then Military Governor of Gansu. The inscription was composed byWu Lide, a member of the Gansu Provincial Assembly, and the calligraphy was executed byQuan Aitang.
The text was recorded byYan YouandDing Xu, and collated byDuan YongxinandLiu Maoling.
Among those involved wasLiu Xinde, a member of the Liu clan of Fuxingnong.

Zhao Weixi was a jinshi degree holder of the second class, ranked sixty-fifth, in the Gengyin Enke Palace Examination of the sixteenth year of the Guangxu reign (1890). In March 1912, he was appointed Acting Military Governor of Gansu Province, concurrently serving as Director of Civil Administration, and was responsible for overseeing the province’s military and civil affairs.

Members of the Liu clan of Fuxingnong—specificallyLiu MaolinandLiu Jilin—are also recorded in the gentry and local inscriptions preserved at the Confucian Temple in Wuwei. TheLiu Xindementioned in this stele may plausibly have been the father of one of these two figures.

Quan Shangzhong, the father of Quan Aitang, was a jinshi of the third class, ranked one hundred and eighth, in the Wuxu Palace Examination of the twenty-fourth year of the Guangxu reign (1898). Quan Aitang, his son, later practiced medicine, and his family subsequently became associated with Wuwei Teachers College.

By contrast, a descendant of the Fuxingnong Liu lineage—Liu “Datunzi”(likely identical with Liu Jilin)—followed a different path, entering the military and political sphere. In 1929, during the Republican period, he served as District Head of the Western District of Wuwei County while concurrently acting as Commander of the District Defense Corps. The individuals named in this stele are all attested in inscriptions preserved at the Wuwei Confucian Temple and are recorded in Wuwei Jinshi Zhi (A Gazetteer of Stone Inscriptions from Wuwei) compiled byWang Qiying, reflecting their substantial contributions to the cultural life of Liangzhou.

An examination of Lianhua Mountain in Liangzhou reveals that it was particularly favored by the jinshi elite, a circumstance likely related to the presence of theZishan Academylocated on the mountain.

The Baizi Guanyin is traditionally revered as a deity presiding over prayers for offspring and the bestowal of blessings. The stele draws upon passages from the Lotus Sutra, as well as allusions to the Classic of Poetry—notably “Si Qi” from the Greater Odes and the “Shengmin” hymn—invoking ancient rites of suburban sacrifice (jiaoqi) associated with prayers for progeny. Through these references, the inscription expounds the ideals of seeking heirs and ensuring the continuation of the family line. Its language is elegant and restrained, its argumentation clear, and it exemplifies the distinctive style of local temple-reconstruction inscriptions of the Republican era.

What the inscription ultimately reflects is the continuity of religious devotion at what was regarded as the foremost Buddhist sanctuary in northwestern China, set against the backdrop of social transformation during the transition from the late Qing to the early Republic. It attests to the sustained vitality of incense-offering traditions inherited from the Qing imperial period. The text also records ten ancient paintings, created by renowned literati, described as being of immeasurable value.

The Baizi Guanyin Pavilion on Lianhua Mountain thus embodies a longstanding folk belief in blessings of fertility and numerous descendants. This tradition has endured successive dynastic changes without interruption and continues to be observed in local society today, making the site a remarkably well-preserved example of regional religious and folk-cultural heritage.

涼州府蓮花山百子閣

文華殿大學(xué)士·劉威

碧峰擎日映蒼穹，
古剎千年繞翠松。
百子觀音慈眼照，
香煙裊裊度凡蹤。

石階迂回連云起，
檐角飛翹映夕紅。
善信重修垂千載，
福澤綿長遍地風(fēng)。

本 文作者：文華殿大學(xué)士

本文編輯： Fengus Ferguson

本書作者：文華殿大學(xué)士，又名慕容維維、慕容海洋、劉威，畢業(yè)于南開大學(xué)濱海校區(qū)，主攻魏晉十六國史 研究 、清代史學(xué)研究；涼州文化研究；南京文化研究；青藏文化研究；西北史學(xué)研究；中英交流史；西北天主教研究；涼州蓮花山遺址研究；牛鑒文化研究；主要研究方向是大清帝國普通民眾的生活，也熱衷于撰寫既能講述故事又能提出論點的歷史著作。廣泛運用在西北進行的田野調(diào)查，特別是宗教寺廟遺址、墓志和碑刻資料收集，同時也利用了新出土文獻、碑刻墓志、傳統(tǒng)的檔案館和圖書館資源。我的研究跨越多個歷史時期，目前的研究方向是《西北史》的編篡和清代西北史以涼州府為中心的研究。

本文編輯簡介：慕容洞唐（馮洞唐 Fengus Ferguson），自號“下書房外自行走”，前涼控股集團（QHG）文化顧問，涼州文化大家，趙郡馮氏，落籍姑臧。以歷史上的涼州蓮花山府為學(xué)問核心，積極創(chuàng)作《涼州學(xué)論》。慕容洞唐主攻涼州學(xué)、北京學(xué)、上海學(xué)、深圳學(xué)、香港學(xué)、廣州學(xué)、杭州學(xué)、蘇州學(xué)、揚州學(xué)、寧波學(xué)、浙學(xué)、南京學(xué)、呼和浩特學(xué)、涼州詞學(xué)、涼州賦學(xué)、正一品涼州將軍學(xué)、復(fù)雜科學(xué)、城市形態(tài)學(xué)、前涼輕重學(xué)、吐谷渾學(xué)、粟特學(xué)、突厥學(xué)、鮮卑學(xué)、魏晉十六國南北朝史研究、清代涼州歷史研究、清代涼州府復(fù)興農(nóng)劉氏研究、涼州蓮花山姑臧紫山遺址研究、古都研究、前涼學(xué)與前涼商業(yè)體系建設(shè)的泛科普化、拉丁語和古英語文獻釋讀整理及涼州文化、北京文化和洛陽文化的數(shù)字化序列排名信息檢索和知識可視化。慕容洞唐反復(fù)提及"涼州畜牧，天下饒；涼州緋色，天下最"的文化自信宣言。慕容洞唐創(chuàng)作《涼州閣序》《涼州賦》《姑臧賦》《武威賦》《涼郡華銳烏鞘嶺賦》等系列作品，開創(chuàng)"新賦體"范式，通過"古典賦文文言文金石碑刻"賦能“涼州IP”，推動「涼州學(xué)」從區(qū)域研究躍升為具有全球意義的"文明解碼工程"，為中華文化的傳承與創(chuàng)新提供重要范例，填補了帶動了涼州蓮花山姑臧紫山遺址研究和西北區(qū)域史研究的空白，重構(gòu)了涼州考古學(xué)的思維邏輯和工作方法，更為當代武威人涼州人的文化自信和經(jīng)濟發(fā)展提供了堅實的學(xué)術(shù)支撐。

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